Sunday Nnamani N.; Sch. J. Arts. Humanit. Soc. Sci. 2015; 3(2B):423-427

Scholars Journal of Arts, Humanities and Social Sciences ISSN 2347-5374 (Online) Sch. J. Arts Humanit. Soc. Sci. 2015; 3(2B):423-427 ISSN 2347-9493 (Print) ©Scholars Academic and Scientific Publishers (SAS Publishers) (An International Publisher for Academic and Scientific Resources)

The Essence of Music in Political Campaigns in : The Igbo Ethnic Group Dr Sunday N. Nnamani Faculty of Humanities and Social Sciences, Federal University Ndufu-Alike Ikwo, P.M.B. 1010 Abakiliki , Nigeria

*Corresponding Author: Dr Sunday N. Nnamani Email: [email protected]

Abstract: Music in Nigeria essentially derives its origin and versatility from the oral tradition or folklore of the different ethnic groups that make up the Nigerian nation. The varying musical styles may be observed within the large culturally diverse groups of people in Nigeria and the variety among the cultures are truly enormous, rich and exciting. These are different musical styles for the Hausa, Igbo and Yoruba tribes. Politically, music had been a handmaid of politics from early times. This strong tie is based on the grounds of the value of music in political education and engineering processes. No political programme can succeed without effective education made possible with music as the propagandist’s vehicle. Thus Bebey[18, p-2] concluded this when he said that “it would be hard to find a head of state in who cannot claim that his governmental programme has been set to music, sung or danced. Keywords: Music, Politics, Political Campaign, Dance.

INTRODUCTION A series of planned activities that are intended Music is sound arranged into pleasing or to achieve a particular social, commercial or political interesting patterns that forms an important part of aim. many cultural and social activities. People use music to express feelings and ideas. It also serves to entertain Music in Contemporary Nigeria and relax [1, p-27]. In the world’s view, conversely, Following the advent and the influx of many music cannot be defined outside cultural implications as religious formations and groups into Nigeria dating it is in itself a culture indicator. Therefore, Blacking [2, from the colonial days, Nigerian music which hitherto p-89] states that; was traditionally oriented and functional got different varieties. However, the result was positively felt as the Music is a synthesis of cognitive processes society then started to witness various forms of music which are present in culture and in human types vis-à-vis the indigenous. These influences came body: the form it takes and effects it has on from the western world, Christianity and Islam. Their people, are generated by the social experiences roles rather than reduce music usage in our day to day of human bodies in different cultural life had made it more vibrant [5, p-20]. Added to this is environments. Because music is a humanly the stronger influence of Western education and organized sound, it expresses aspects of the urbanization which Merriam[6, p-34] stated that “the existence of individuals in society. general urban movements in Africa as a whole present many opportunities for exchange of musical ideas and Bergethan[3, p-16] admitted that “music is a probably tend gradually to blur sharp tribal stylistic force within our daily lives and is part of our heritage lines where they exist”. Thus, along the process of that provides means of aesthetic expressions”. acculturation that ensued as a result of the above Ordinarily, music be it popular, religious art or folk is a movements and influences, Nigerians now enjoy product of a creative process that takes place in man on various types, styles and forms of music which include daily basis and simply dictated by events measured in popular music, religious or gospel music. time, circumstance and place. Later on, Omideyi [4, p- 7] referred to it not just as a combination of sounds, but METHODOLOGY a mysterious force, which throughout the ages exerted a The methodology adopted in this paper is an in powerful influence on man. depth description of the different music genres that had formed the primary sources of music for various Political Campaigns

Available Online: http://saspjournals.com/sjahss 423

Sunday Nnamani N.; Sch. J. Arts. Humanit. Soc. Sci. 2015; 3(2B):423-427 political campaigns. These include popular, religious ensure peace, love, sincerity, healthy ambition in all the and traditional music types. frontiers of policy-making and execution. The varieties include songs for supplication, devotion and in fact DISCUSSION songs for every aspect of life. Gospel music and The three types mentioned above are discussed musicians in Nigeria have been fulfilling this mission hereunder. ever since. Gospel music ranks second in its use during campaigns as simple choruses meant for devotional Popular Music worship are adapted to suit the whims and caprices of Going by its name and commonality of the political class. The lower and middle class also appreciation, popular music is indeed created for the follow suit. masses no matter the class one belongs. It is this type that takes the lead in political campaigns. Okafor [7, p- Traditional / Indigenous Music 3-4] defined it as; This is another type that had provided the Music that deals with familiar themes and local musician with the words and tunes which are very issues of the moment. It is understood and much liked by the common man. According to accepted by a lot of people not as a final Nketia[9, p-4], “there is no community in Africa that solution to their problems but as a topical has no music: Such a community without music would reflection of their sentiments and current world be considered dead”. In this era of grass-root politics view. Consequently, popular music is more and rural development initiatives, there is no better subject to change than any other genre of organ of information dissemination that does convince music… Popular music is therefore music with the rural populace than government programme put to broad, immediate and implicitly transient music. These compositions achieve better results when appeal. It is also social entertainment and they are sung in the local dialect of the community in dance-oriented and draws its core clientele question. from urban dwellers. Supporting the above assertion by Nketia[9- p- Expressing her own view about popular music, 3] said; Omibiyi-Obidike [8, p-1] said “the one that enjoys the All ethnic groups in Nigeria have their various greatest patron among all Nigerians is popular music traditional music and musicians and where the given its heterogeneity, general acceptance, high government has an information in its lingua, frequency of performance and high volume of sales, franca, the indigenous traditional musician Nigerian Popular music has emerged as an important draws the nationalistic message… to interpret National Idiom”. in the local idiom for instant appreciation and response. Its importance is overriding as it is a handy tool for the propagation of effective socio-political and The ethnicity in Nigeria is so varied that there economic messages in all languages used in the country. is no definition of a Nigerian beyond that of someone The various types include Highlife, Afro-rock, who lives within the borders of the country [10, p-4]. Rock”n”Roll, Jazz, Reggae, Calypso, Afro-juju, Blues, But these musicians do a lot of cleaning and purification Apala, Fuji, etc. assignments with their compositions as they preach good morals and ethics of good citizenship. Religious (Gospel) Music Fundamentally, this music type is exclusively Music in Politics for the worship of the Almighty God. Due to the fact In Nigeria, political movements and activities that it grew out of the church, the forum for have provided many a singer of popular music with performance was restricted therein, and this spanned some of his richest songs. He has been able to say or quite for a long time before sophistication in style, mirror the people’s mind, but may dish it out in a mild content, rhythm and instrumentation started to threaten form for fear of criticism and sanctions by the ruling its base and operationality. Omibiyi-Obidike [8, p-6] class. The themes consists of topic on “internal further confirmed that; struggles, the gap between the rich and the poor” evils perpetuated by unpatriotic elements, rumour mongering, Gospel music originally was used in the church drug addiction, get rich-quick syndrome etc[11, p-225]. and was performed at special festivals such as harvests, Specifically, Ubani [12, p-37] supported the above thanksgiving and so forth. However, with the electronic when he said that, technology and the need for youths to have the type of The creative activity in music as part of the music that caters for their social interest, gospel music strategy in political party election campaigns was taken out of the confines of the church. The truth involves a wide spectrum of meaningful remains that the foundation for a progressive society musical experience with sensitivity, fluency, depends on the level of its moral life which can always flexibility, analysis and coherent organization

Available Online: http://saspjournals.com/sjahss 424

Sunday Nnamani N.; Sch. J. Arts. Humanit. Soc. Sci. 2015; 3(2B):423-427

of musical ideas employed in communicating Which way to go? party slogans and proposals to the electorates. I love my fatherland; I want to know Such songs are short, repetitive and Which way Nigeria is heading to? rhythmical, very melodious and easily remembered. Sometimes the music is in form of jingles/slogans or Another was Fela Anikulapo – Kuti of blessed even composed in such a way that it will have a memory. He was a thorn in the flesh of the ruling class. comprehensive information on the party and the Fela was outspoken, fearless, tough and particular individual to be voted for. At times, it may uncompromising in his denunciation of the violence and even carry some negative information about the hypocrisy emblematic of the Nigeria government since opposing party thereby warning people not to waste the country’s independence from her British colonists their votes on such party or persons. on October 1, 1960 [14]. His works include Lady, Zombie, Yellow Fever, Authority stealing, Original The role of the musician in political matters Suffer head, Teacher Don’t Teach Me Nonsense, Big had continued to exist, the political changes and radical Blind Country, Equalization of trouser and pant, Beasts transformations notwithstanding. In many instances he of No Nation and VIP (Vagabonds in Power). is the true voice of the people because he can speak their mind without fearing the wrath of the political The other is Wole Soyinka who used his class. Some regimes are usually not comfortable with immense literary prowess to focus attention on the him as they use machinery of the state to launch Nigerian politics of the 1980’s for which he said that oppressive counter measures against him. In many there were no equal treatments for all tribes and people. instances, the more the authorities try to oppress the In 1983 he released two numbers – Unlimited Liability musician, the more he acquires an elevated status of a Company and Etike Revo Wetin? Here he criticized the martyr for the truth. Such musicians include Sonny government’s ethical revolution programme. Okosun, who used his music to challenge and fight against the Apartheid Regime of South Africa. In his Definitely, it will be wrong to conclude that Papa’s Land [13] he says: “We want to know who owns musicians are always finding faults with those in the land, my papa’s land”. The same composer on authority. They also help in instilling patriotism and turning to Nigeria is demanding for a constructive nationalism in the citizenry. Nelly Uchendu’s “Be a true change for everybody. His “Which way Nigeria?” is a Nigerian” and “Make a new Nigeria” are typical master piece in that category and it reads examples. Refrain: Which way Nigeria? (2ce),

The two examples below are those of religious choruses adapted for political party campaigns. Winner o-o-o- winner Winner o-o-o- winner PDP don win o, winner I say you go win again o Winner.

Igbo English Ebee ka anyi ga abianye aka Where shall we thumbprint Ebe e sere umbrella Where umbrella is drawn Ma nwoke, ma nwanyi Both man and woman Ebe e sere umbrella Where umbrella is drawn.

The Igbo Ethnic Group function, a cultural expression of man in his culture and In southeastern Nigeria today, comprising of environment and since it has to do with its cultural five states of , Anambra, Imo, Abia and Ebonyi, gene, it is easily understood and this in turn changes the kingdom of Nri of the flourished from one’s mode. African music according to Nzewi (1997) the controversial date of around the 10th century until in Ukpana [16]is; 1911, making it the oldest kingdom in Nigeria. The Nri Feeling communal therapy, a humanizing kingdom was ruled by the Nri. The city of Nri is communion, a showing in human beingness. considered to be the foundation of . Nri and African cultural music, wisdom and principles Aguleri, where the Igbo creation myth originates, are in of musical practice have intense potentials and the territory of the Umeuri clan, who trace their lineages relevance to any stiff human world person. The back to the patriarchal king-figure, [15]. genuine interpretations of its therapy, performance and humanistic values have In Africa, music plays important roles in the urgent relevance to world knowledge about lives of people. Its major characteristic is that it has a

Available Online: http://saspjournals.com/sjahss 425

Sunday Nnamani N.; Sch. J. Arts. Humanit. Soc. Sci. 2015; 3(2B):423-427

music, also to world societies, be they African worked very hard that their contributions added or not. immensely to the repertoire of . They were able to create new texts for existing folk tunes, and in Music defines the social status in every society other cases new tunes for new texts or even new tunes and generally speaking, it is an essential part of every for existing lyrics. facet of the daily life of an African. This is more so in life of Nigerians. Some of the composers mentioned above tried as much as possible to create a link or relationship Igbo music according to Umezinwa[17, p-42]) between their music and the moral and social lives of Is the music of the people living in the south- the people. At other times, the ruling class where east of Nigeria, who are known as the Igbo. advised to maintain equilibrium by distributing the They have a unique variety of music and resources of the state equitably between the citizens. instruments used which is associated with This, the politicians tagged “the dividends of them and belongs to them as an integral part of democracy”. their culture. The music has its own identity, which is derived from its essence. Language Its language use is characterized by its linguistic Igbo music is unique and stands out for components that include the story line itself, dialects, recognition. It expresses in all unity in diversity as it is tonal variations, idioms, proverbs and music is like the used to unify, stabilize and integrate Igbo citizens English recitative of the Baroque period. The especially during social gatherings and in times of philosophy and rhythm that is expressed in different crisis. The Igbo identity is revealed in the musical moments of singing and dancing as well as instruments used for accompaniment. They vary in instrumentation, all constitute the beauty of the music. sizes, shapes and types and produce different rhythms. Today, central Igbo dominate as the perfect common Igbo dialect to be used. Other composers not mentioned Some of the composers of Igbo literary music above include Sunny Okosun, Dorathy Ipere, Mike include Sam Ojukwu, David Okongwu, Goddy Okeke, Ejeagha, Bright Chimezie (Okoro Junior) Sunny Oti, Ishmael Nwangene and Ikoli Harcourt Whyte. These Adolf Ahnotu, Onyeka Onwenu, Osita Osadebe, etc. men endowed with great talents, had the interest and

Some examples are shown below; Igbo English 1. Ojukwu bu eze , Ojukwu is the king of Biafra E mere ya na Aburi, It was agreed in Aburi Awolowo, Yakubu Gowon, Awolowo, Yakubu Gowon, Unu enweghi ike imeri Biafra, You can’t defeat Biafra Biafra win the war, Biafra win the war, Amodu car, shelling machine, armored car, shelling machine, Fighter, Bomba Fighter, Bomber Ogbunigwe gegbu unu dum. Multiple killers will kill all of you.

2. Ije uwa bu mbe mbe, Life’s journey is step by step uwa bu a na-eme, when you are trying O dika a da eme. It seems you are doing nothing

3. Nzogbu nzogbu (2 times) Trample, Trample (2 times) Enyi mba enyi Tiger city, Tiger Zogbuo nwoke Trample a man Zogbuo nwanyi Trample a woman Enyi mba enyi Tiger city, Tiger.

Dance and Costumes in Politics always hear children, passersby and labourers working The dance steps are unique and captivating that in their farms chanting the slogans which they learnt during political campaigns, some dancers display these during the political campaigns. It is believed that this steps. Some members of the audience usually join them will influence their voting patterns but presently there is in singing and dancing. In the same way due to the no empirical evidence. attractive nature of their costumes, some members follow them back for several kilometers admiring them and chanting their slogans. As a result of these, one can

Available Online: http://saspjournals.com/sjahss 426

Sunday Nnamani N.; Sch. J. Arts. Humanit. Soc. Sci. 2015; 3(2B):423-427

CONCLUSION It has been established in this paper that music is the handmaid of political and no political programme can succeed without the use of music as propaganda machinery. Also the dance displays and costumes worn by the dancers help in imprinting the political party slogans in their minds. Finally because the politicians had discovered the relationship between music and politics, some of them always resort to placing these slogans in radio and television stations in order that their political objectives may be realized.

REFERENCES 1. Walter K; Music to Numazu. Collier’s Encyclopedia vol. XVII New York. 1996. 2. Blacking J; How Musical is Man? Faber and Faber, London, 1973. 3. Bergethan B, Boardman E; Musical Growth in the Elementary child. 4th edition, Holt, Rinchart. 1979. 4. Omideyi O; The Role of Music in Mass Education Paper presented at National Conference of Music Educators, College of Education, , 1987. 5. Olorunsogo AO; Music: The heartbeat of Social Mobilization – a requisite for Nigerian’s Political Transition in Arts and Social Sciences . Forum Journal, 1997; 2. 6. Merriam AP; African Music in Continuity and change in African Culture, Bascom and Herskovit (ed). Faber and Faber Ltd., 1973. 7. Okafor RC; Popular Music , International Journal of Music Education, 1989;14:3-13. 8. Omibiyi-Obidike MA; New Horizons in Nigeria- Popular music. Paper presented at the PANAFEST ’94 at International Centre for African Music and Dance 13-14 December, 1994. 9. Nketia JHK ; African Music in Ghana. Northwestern University Press, 1982. 10. Ukpo WM; State, Oil and , 2010. 11. Okafor RC; Music in Nigeria Society. New Generation Books, Enugu. 2005. 12. Ubani A; Music, Information Communication, Technology and National Development. Alvan Journal of Music and Humanities , 2009; 1(3). 13. Papa’s Land; Sonny Okosun’s Ozzidi EMI NEMI (LP) 0232, 1977. 14. The Nation; They live on, Even after their times (Review). Saturday April 4, pp-14 – 15, 2009. 15. Uzoukwu EE; Worship as Body Language, 1997. 16. Ukpana E; Musical Composition and Social Commitment in Nigeria. In Nigeria Musicology Journal, 2006; 2 17. Umezinwa EC; Igbo Music, Freedom and Philosophy. Awka Journal of Research, In Music and the Arts, 2009; 6, Rex Charles, Nimo. 18. Bebey F; African Music: A peoples’ Art, George Harrap Ltd, London, 1975.

Available Online: http://saspjournals.com/sjahss 427